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14Th - 17Th September 2017 02 03
14th - 17th September 2017 02 03 WELCOME TO THE 10TH SHORELINES ARTS FESTIVAL TO BALLINASLOE / DUBLIN SHORELINES AT A GLANCE This year marks a very special 10th festival for our enduring committee, growing TO LOUGHREA / GALWAY audience and generous patrons and sponsors. As the premier boutique festival 2 Irish Workhouse Centre WEEKEND EVENTS SATURDAY SEPTEMBER 16TH - FAMILY/CHILDREN of the midlands and Lough Derg area, our audience in Portumna and its locality Art Exhibition (from 4th to 24th September) Free p4/5 Workshop: The Brickx Club 10am/12pm p13 embraces our annual programme. Shorelines is a showcase for excellent talent in Portumna Community School Art Exhibition Free p6 Professor Plunger 2pm p13 music, drama, art, film and literature. From a 3-week art exhibition extending to three Portumna Retirement Village 1 Shorelines Megaloceros by Donnacha Cahill Free p7 Face-Painting with Giselle 2pm p13 rooms at the Irish Workhouse Centre, to a pop-up museum on the theme of Lace, 10 Words with Portumna Pen Pushers Free p7 Mojo Creations Origami Demonstration and Workshop 2pm p13 Shorelines celebrates our heritage and invites innovative and new work from a wide Shorelines Pop-Up Museum Free p7 Loughrea Craft Club 2pm p13 TO PORTUMNA BRIDGE array of artists. With 10 Decades, 10 Cubes, the stories of the area are reflected in a BIRR / NENAGH / LIMERICK Book Birds at Shorelines Free p7 Circus Fergus 2pm p13 newly commissioned art piece. This year we are particularly pleased to collaborate Shorelines Number 10s Free p7 S T 3 St Brendan’s National School B R Art Exhibition: St. -
17 Meán Fómhair, 2010 1 NUACHT NÁISIÚNTA Nuacht “Tá Seans Na Nóg
www.gaelsceal.ie Micheál Ó Laoch Muircheartaigh ag Litríochta éirí as - labhraíonn na nGael sé le Gaelscéal L. 7 Crann Beag L. 31 na nEalaíon L. 22 €1.65 (£1.50) Ag Cothú Phobal na Gaeilge 17.09.2010 Uimh. 26 • IDIRNÁISIÚNTA Gaeilge ag Athraithe Móra i ndán do SAM 30% de Seán Ó Curraighín, in Minnesota, SAM TÁ cuma ar chúrsaí go mbeidh athruithe móra pháistí na ar leagan amach na cumhachta sna Stáit Aontaithe sa toghchán lár téarma ag tús Samh- na. Tá na Poblachtaigh ar ríocht cumhacht a Gaeltachta bhaint amach i dTeach na nIonadaithe agus iad Anailís le Donncha Ó hÉallaithe Thart ar 10,000 teaghlach le gar don éacht céanna sa páistí scoile atá sa Ghaeltacht Seanad, dar le D’ÉIRIGH le 2,326 (70%) den 3,355 oifigiúil. 6,500 acu, ní bhacann pobalbhreith Washing- teaghlach Gaeltachta a rinne iar- siad le hiarratas a dhéanamh, mar ton Post-ABC. ratas faoi Scéim Labhairt na go dtuigeann a bhformhór nach In agallamh le Gaeilge, an deontas iomlán a fháil bhfuil a ndóthain Gaeilge ag a Gaelscéal, dúirt an tOl- anuraidh agus tugadh an deontas gcuid gasúr le cur isteach ar an lamh le hEolaíocht Pho- laghdaithe do 449 (13%) eile. scéim. laitiúil i UST, Minnesota, Nuair a deirtear ar an gcaoi sin é, Is é fírinne an scéil go léiríonn na Nancy Zingale, go gcaill- tá an chuma air go bhfuil líofacht figiúirí ón SLG 2009/10 go bhfuil fidh na Daonlathaigh Ghaeilge ag formhór na ndaltaí líofacht mhaith Ghaeilge ag thart cumhacht an tromlaigh i scoile sa Ghaeltacht. -
Arts Projects Ireland Presents a Work-In-Progress-Showing Of
CREATIVE TEAM PERFORMERS Composer/Librettist: Julie Feeney Boy Bird Catherine Redding Directors: Julie Feeney & Mikel Murfi Bird, Reed, Human Rebekah Coffey, Sara Busfield, Christina Whyte, Conductor: David Brophy Aine Mulvey, Laura Lamph, Helen Hassett (also Solo Human) Performers’ Contractor: Louis Roden Prince Simon Morgan Assistant Director: Kellie Hughes Bird, Human Eugene Ginty, Jacek Wislocki, Morgan Crowley Warwick Harte, Paul McGough, Jeff Ledwidge PRODUCTION TEAM First violin: Ken Rice (leader) & Cliodhna Ryan Second violin: Anne Marie Twomey & Siubhan Ni Griofa Technical Director: Adam Fitzsimons Viola: Karen Dervan & Niamh Roche Sound: Paul Ashe-Browne Cello: Margaret Dorris & Jane Hughes Producer: Margaret O’Sullivan Double bass: Malachy Robinson Line Producer: Maura O’Keeffe Pedal steel guitar: Sebastian Petiet Recorders: Jenny Robinson French horn: David Carmody THANK YOU Trumpet: Shaun Hook Willie White, Stephen McManus and team at DTF, Tom Creed/Cork Midsummer Festival, Trombone: Steve Mathieson Paul Fahy/Galway Arts Festival, Rosemary Collier/Kilkenny Arts Festival, Loughlin Deegan; Keyboard: Tristan Russcher JC & team at Project, Olga Barry, Colin Dunne, Christine Monk, Nora Kate & Mel Mercier, Percussion: James Dunne Emma & Morag Davies, Eamonn Maxwell, Rob Furey, RTE. Louis would like to thank Olga Barry for her fantastic support on this project. JULIE would especially like to thank Loughlin Deegan, Margaret O’Sullivan, Maura O’Keeffe, Louis Roden, Mikel Murfi, Kellie Hughes, Dave Brophy, Paul Fahy, Tom Creed, Teresa Feeney, Amy Feeney Spellman, Michael Maguire and the wonderful performers. Arts Projects Ireland presents a work-in-progress-showing of based on The Happy Prince by Oscar Wilde commissioned by FESTIVAL FIRSTS Dublin Theatre Festival 2012 DUBLIN THEATRE FESTIVAL, CORK MIDSUMMER FESTIVAL, October 4th 1pm GALWAY ARTS FESTIVAL & KILKENNY ARTS FESTIVAL Project Arts Centre Phase one of a two part development project, supported by the Arts Council/An Comhairle Ealaion. -
Program Notes
Advance Program Notes Crash Ensemble Wednesday, March 25, 2015, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Crash Ensemble Donnacha Dennehy: Turn (arrangement for Crash Ensemble 2015) Dan Truman: Marbles (2015) world premiere Intermission Eric Lyon: Dualities (2015) world premiere Michael Gordon: Dry (2013) U.S. premiere Musicians Conductor Anna Cashell, violin Alan Pierson Lisa Dowdall, viola Kate Ellis, cello Production Malachy Robinson, double bass Susan Doyle, flute Adrian Hart, production manager and electronics Deirdre O’Leary, clarinet/bass clarinet Valerie Francis , front of house sound engineer Roddy O’Keeffe, trombone Alex Petcu, percussion Management Isabelle O’Connell, piano John Godfrey, electric guitar Kate Ellis, artistic director Donnacha Dennehy, artistic partner Neva Elliott, CEO Jonathan Pearson, tour/concerts manager Program Notes TURN (2013-14; arrangement for Crash Ensemble, 2015; U.S. premiere) DONNACHA DENNEHY This intricate, detailed piece is one of the most overtly melodic of my purely instrumental works in years. Gently lunging melodies combine to produce a bustling tapestry of sound. Turn literally turns over its phrases, varying upon each repetition. Once I decided to dedicate this piece to my mother, an inveterate knitter, it struck me: that’s exactly what a turn is in knitting, a reworking on top of an already established stitched pattern! On a larger level Turn pushes towards build-ups that end each time with a literal turn in direction. This in a major way constitutes the modus operandi of the piece. -
Anathema of Venice: Lorenzo Da Ponte, Mozart's
Click here for Full Issue of EIR Volume 33, Number 46, November 17, 2006 EIRFeature ANATHEMA OF VENICE Lorenzo Da Ponte: Mozart’s ‘American’ Librettist by Susan W. Bowen and made a revolution in opera, who was kicked out of Venice by the Inquisition because of his ideas, who, emigrating to The Librettist of Venice; The Remarkable America where he introduced the works of Dante Alighieri Life of Lorenzo Da Ponte; Mozart’s Poet, and Italian opera, and found himself among the circles of the Casanova’s Friend, and Italian Opera’s American System thinkers in Philadelphia and New York, Impresario in America was “not political”? It became obvious that the glaring omis- by Rodney Bolt Edinburgh, U.K.: Bloomsbury, 2006 sion in Rodney Bolt’s book is the “American hypothesis.” 428 pages, hardbound, $29.95 Any truly authentic biography of this Classi- cal scholar, arch-enemy of sophistry, and inde- As the 250th anniversary of the birth of Wolfgang Amadeus fatigable promoter of Mozart approached, I was happy to see the appearance of this creativity in science and new biography of Lorenzo Da Ponte, librettist for Mozart’s art, must needs bring to three famous operas against the European oligarchy, Mar- light that truth which riage of Figaro, Don Giovanni, and Cosi fan tutte. The story Venice, even today, of the life of Lorenzo Da Ponte has been entertaining students would wish to suppress: of Italian for two centuries, from his humble roots in the that Lorenzo Da Ponte, Jewish ghetto, beginning in 1749, through his days as a semi- (1749-1838), like Mo- nary student and vice rector and priest, Venetian lover and zart, (1756-91), was a gambler, poet at the Vienna Court of Emperor Joseph II, product of, and also a through his crowning achievement as Mozart’s collaborator champion of the Ameri- in revolutionizing opera; to bookseller, printer, merchant, de- can Revolution and the voted husband, and librettist in London in the 1790s, with Renaissance idea of man stops along the way in Padua, Trieste, Brussels, Holland, Flor- that it represented. -
Musical and Dramatic Structure in the Opera Buffa Finale
Trinity College Trinity College Digital Repository Faculty Scholarship Spring 1989 Musical and Dramatic Structure in the Opera Buffa Finale John Platoff Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/facpub Part of the Musicology Commons Musical and Dramatic Structure in the Opera Buffa Finale* JOHN PLATOFF he study of the opera buffa of the late eighteenth century has for many years been virtually synonymous with the study of Mozart's mature operas. Scholars have recently shown an increased interest in the operas of Haydn, but operatic works by the leading contemporaries of these two great figures remain almost completely unknown.l It is thus not surprising that what is believed to 191 be true about the finale in opera buffa applies quite well to Mozart's finales, but far less well to those of Paisiello, Salieri, Martin y Soler, and Volume 7 ? Number 2 * Spring 1989 TheJournal of Musicology ? 1989 by the Regents of the University of California * A shorter version of this paper was presented at the annual meeting of the American Musicological Society, Louisville, Kentucky, in October 1983. I am grateful to Leonard B. Meyer, Ruth Montgomery, Gary Tomlinson, and Piero Weiss for many useful suggestions. Studies of Mozart's Viennese operatic contemporaries have been very limited in number. Those that deal in some detail with musical matters (as opposed to biographical or bibliographical issues) include Hermann Abert, W. A. Mozart: neubearbeitete und er- weiterteAusgabe von OttoJahns Mozart, 8th ed., 2 vols. (Leipzig, 1973-75), in particular the chapter on "Opera Buffa," I, 332-82; idem, "Paisiellos Buffokunst und ihre Be- ziehungen zu Mozart," Archivfiir Musikwissenschaft I (1918-19), 402-21, repr. -
Summer Music Festival for All the Family 20
ARK.IE | 01 670 7788 SUMMER MUSIC FESTIVAL FOR ALL THE FAMILY 20 JULY – 21 AUGUST 2011 If you’ve ever wished that you could bring young children to hear great live music, then The Ark’s PLAY festival is for you. With five weekends of concerts for families, featuring outstanding musicians, and a jam-packed programme of hands-on workshops, PLAY lets you experience all the Culturefox.ie is the definitive online guide to Irish cultural events, giving you complete information about excitement and fun of making cultural activities both here and abroad. music, even if you’ve never To find out what’s on near you right now, visit picked up an instrument before! Culturefox.ie on your computer or mobile phone. Download the FREE App available now for: iPhone | Android | Blackberry SAT 23 JULY | 2PM & 4PM SUN 24 JULY | 2PM & 4PM SAT 30 JULY | 2PM & 4PM SUN 31 JULY | 2PM & 4PM SAT 6 AUGUST | 2PM & 4PM PLAY OPEN ARTS JULIE FEENEY ZOË CONWAY FIDIL FIONA KELLEHER & WEEKEND COMMUNITY CHOIR The “pop genius” (Hot Press) behind & FRIENDS Described as “Mind-blowing” FRIENDS: CONCERTS & MESSENGERS the hit song Impossibly Beautiful, Zoë is a dazzling solo fiddle player (www.allcelticmusic.com), Fidil FOR CHILDREN FAMILY Julie Feeney brings her mesmerizing and violinist who has appeared as a is a group of three outstanding WITH JULIE FEENEY talent and her superb ensemble of guest soloist with world-renowned traditional fiddle players from AGED 2-6 CONCERTS A celebration of the joy of singing musicians to The Ark, combining orchestras, toured with Riverdance Donegal who give high energy Fiona Kelleher is one of Ireland’s with two very different, but equally music, story and songs in two and worked with Rodrigo y Gabriela, performances that are both finest singer-songwriters, receiving wonderful, choral groups. -
Spring Edition 2019 Anglo - Austrian Society
Spring Edition 2019 Anglo - Austrian Society 75 Years 1944 - 2019 Spring Edition 2019 www.angloaustrian.org.uk 1 www.angloaustrian.org.uk Spring Edition 2019 THE ANGLO AUSTRIAN SOCIETY AT 75 A MESSAGE FROM THE RETIRING CHAIRMAN The Anglo Austrian Society was created in 1944 by the many Austrians who have taken refuge in Britain after 1938, and wanted to maintain their Austrian identity and also looked forward to the re-establishment once again of an independent Austria. The Society also worked from its beginning to promote knowledge of Austria and friendship between Britain and Austria. Today, Austria is happily one of the most successful countries in Europe. The other aims of the Society remain as they were, but equally its activities have evolved over the years. Our Newsletter and the local Stammtische continue to provide a way for Austrians to meet and keep in touch. But two new challenges have appeared in recent years: the decline in language studies and hence cultural understanding in British schools, and the departure of Britain from the EU. To help with the fi rst of these, we are able through the generosity of past benefactors to offer not only study grants for visits to Austria by students, but also grant for exchanges for scientifi c collaboration at a senior level, and for young people taking part in musical visits to /Austria who might not otherwise be able to afford to go. To encourage Austrian related studies in British universities, we are able to offer a bursary to a postgraduate student embarking on research for a doctorate. -
Irish Studies
@BKQBOCLOFOFPEMOLDO>JP ENEODOPQ@EAOENEODEJOPEPQPA>QNJOHE>N=NU>? ENAH=J@ FOFPEPQRAFBP Peter Fallon Named Burns Visiting Scholar for Academic Year 2012-2013 Press, Cuala Press, Three Candles Press, and Dolmen Press. Gallery has published more than 400 books of poems and plays by Irish writers, including Nuala Ní Dhomhnaill, Gerald Dawe, Seamus Heaney, Brian Friel, Derek Mahon, John Montague, Tom Kilroy, Paul Muldoon, Ciaran Carson, Medbh McGuckian, John Banville, Eiléan Ní Chuilleanáin, Marina Carr and Michael Hartnett, and it has fostered a new generation of Irish poets, including Vona Groarke, Peter Sirr, Conor O’Callaghan, Kerry Hardie, Aidan Rooney and Alan Gillis. On July 2, 1995, The Abbey Theatre in Dublin, Ireland’s National Theatre, was filled to celebrate twenty-five years of The Gallery Press, with readings introduced by Seamus Heaney. In her opening address, the President of Ireland, Mary Robinson, enthusiastically declared: “The Gallery Press has spent the last twenty-five years contributing towards bringing Irish poets and writers of plays and fiction to a wider world culture. I warmly salute the enormous contribution Peter Fallon has made to the diverse and challenging voices in Ireland.” The Gallery Press’s fortieth anniversary in 2010 was Peter Fallon celebrated by readings, special events, and publications at the Dublin Book Festival, Poetry Now, Cúirt, the The Center for Irish Programs and the John J. Yeats Summer School, and Glucksman Ireland Burns Library of Boston College are pleased to House/NYU. RTE, Ireland’s national radio, marked welcome Irish poet, editor, and publisher Peter Fallon the occasion with an hour-long "SUT4IPX special. -
The Three Forges Cork Gamelan Ensemble Dublin: Diatribe Recordings Ltd., 2015 DIACD019
The Three Forges Cork Gamelan Ensemble Dublin: Diatribe Recordings Ltd., 2015 DIACD019 With The Three Forges, the Cork Gamelan Ensemble presents a collection of newly composed music for Javanese Gamelan, the traditional gong ensemble music of Java in Indonesia. The ensemble is directed by Professor Mel Mercier who in 1994 commissioned the gamelan instruments on behalf of University College Cork (UCC) and has taught the UCC Gamelan in the Seomra Gamelan (Gamelan Room) at the university’s Department of Music until his departure in 2016. Composing new music for gamelan is a widespread practice, both inside and outside of Indonesia. Two types of original music are distinguished: komposisi baru (new works based on traditional structures) and kreasi baru (experimental compositions, ignoring traditional forms and/or techniques) (Pickvance, 2005). Over the years, the UCC Gamelan has performed original music for gamelan alongside the traditional repertoire. With the establishment of the Cork Gamelan Ensemble by UCC graduates in 2013, an ensemble exclusively aimed at composing and performing original music for gamelan was born. To date, the Cork Gamelan Ensemble has collaborated with various Irish artists, initial encounters which always begin in the Seomra Gamelan. The results of these joint efforts can be found on the ensemble’s debut album, The Three Forges. The album opens with the komposisi baru ‘Kelly and Andy’. It is based on the gangsaran, a traditional musical form with a persisting ostinato on one note. This ostinato, or repetitive figuration, features throughout this energetic opening song on the balungan instruments (metallophones which play the core melody). The other instruments, the higher pitched balungan instruments, and the chorus embellish the ostinato. -
IMRO Annual Report 2007
IMRO ANNUAL REPORT & ACCOUNTS 2007 Cover IMRO.indd 1 07/08/2008 10:50:57 IMRO ANNUAL REPORT & ACCOUNTS 2007 Title Page IMRO 1 30/07/2008 1 3:11:55 Blank Page IMRO 1 30/07/2008 1 3:07:51 IMRO BOARD OF DIRECTORS: Keith Donald (Cathaoirleach), Paul Brady, Philip Flynn, Eddie Joyce, Johnny Lappin, Steve Lindsey (UK), Donagh Long, Eleanor McEvoy, Charlie McGettigan, Christy Moore, James Morris, CREDITS Michael O’Riordan, Niall Toner. PRODUCTION MANAGER: Mairin Sheehy CONTRIBUTORS: Jackie Hayden, Greg McAteer, Colm O’Hare, Peter Murphy DESIGN & PRODUCTION: Hot Press, 13 Trinity Street, Dublin 2. ART DIRECTOR: David Keane ADDITIONAL DESIGN: Graham Keogh PRODUCTION CO-ORDINATOR: Anne Marie Conlon 3 Credits IMRO 1 30/07/2008 1 3:13:14 Blank Page IMRO 1 30/07/2008 1 3:08:22 6 TAKING IMRO TO HEART KEITH DONALD tells us about his plans for his term as IMRO Chairman. 9 FINANCIAL HIGHLIGHTS IN 2007 10 IMRO WELCOMES NEW CEO VICTOR FINN We talk to newly-appointed CEO, VICTOR FINN about the future of the CONTENTS organisation. 12 NEWS REVIEW A look at the music news that made headlines over the last year. 15 IMRO MOVING AHEAD Publishers MICHAEL O’RIORDAN, PETER BARDON and STEVE LINDSEY share their views on the challenges and opportunities facing Irish music. 18 THE SONGWRITERS’ PERSPECTIVE PAUL BRADY and ELEANOR MCEVOY on the trials and tribulations of being a modern-day songwriter. 20 ONCE UPON A TIME GLEN HANSARD and MARKETA IRGLOVA talk about the life-changing experience of winning an Oscar in March 2008. -
Translating, Adapting, and Performing Opera in Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte at the King's Theatre" (2017)
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Translating, Adapting, And Performing Opera In Eighteenth- Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Lily Tamara Kass University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Comparative Literature Commons, Music Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Kass, Lily Tamara, "Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre" (2017). Publicly Accessible Penn Dissertations. 2379. https://repository.upenn.edu/edissertations/2379 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2379 For more information, please contact [email protected]. Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Abstract This dissertation examines music and text circulation in cosmopolitan Europe during the last decades of the eighteenth century through the lens of translation. London in the late eighteenth and early nineteenth centuries was the largest center of Italian operatic performance outside of Italy. All performances sung at the King’s Theatre, London, were sung in Italian, the presumed language of opera, even when the works had been originated in other languages. This created the need for a culture of translation and adaptation of works from abroad, making them suitable for a London audience partially through the retention of foreignness and partially through domesticating practices. In the 1790s, a period of political tension between Britain and post-Revolution France, four French operas were presented at the King's Theatre in Italian translations attributed to the poet Lorenzo Da Ponte (1749-1838): Gluck's Iphig�nie en Tauride, Gr�try's Z�mire et Azor, Monsigny's La belle Ars�ne, and Sacchini's Arvire et �v�lina.